I.AM catalyzes the “convergence for good” of the biological, physical and digital worlds, helping us to better tackle the toughest challenges of the 2020s: climate change, resource depletion, an aging population, social inclusion, the empowerment of people, health crises and the post-pandemic world, as well as new issues emerging in relation to economical, societal and everyday life. This book dives into disruptive concepts of I.AM such as: Trust as a Service, Business as a Game, ATAWAD (AnyTime, AnyWhere, Any Device), PCE (Productivity of Collaborative Exchange), Unimedia, Shazamization of everything, decentralization of everything, BOTization and Build to Order for Me, Blockchain and Empowerment of Me, edge computing, augmented industry, augmentation value chain and empowering innovation, etc. The fluid, easy-to-read style of this book targets the broadest scope of readers, from purpose-driven and business-oriented individuals, to students, researchers, experts, innovators, consultants, managers and politicians, all eager to empower people to work towards a more sustainable future.
This book is a monograph of cultural economics of a new concept, artist–enterprises. It explores various dimensions that artists embody, i.e., aesthetic, critical, messianic, and economic ones, and screens the multiple challenges faced by the artist–enterprises in terms of pricing, funding, and networking in the Digital Age. It shows how these artist–enterprises are at the core of the contemporary creative industries. Even when they are on their own, artists have to demonstrate or manage a variety of skills, sign contracts both in the early and later stages of their activities, and also maintain relationships and networks that enable them to attain their artistic and economic goals. They are no longer simply entrepreneurs managing their own skills but are the enterprises themselves. The artist–enterprises thus find themselves at the confluence of two dynamics of production—artistic and economic: artistic because they invent new expressions and meanings; and economic because these expressions must be supported by monetary values on the market. The artistic dynamic is part of a long process of artistic enhancement and only an artist can say whether it has reached the point of presentation or equilibrium. The economic dynamic is dependent on the constant endorsement of artists' works by the market to ensure their survival as artist–enterprises. The tension created by this disparity is further aggravated by another tension: the need to overcome a number of risks so that artist–enterprises can progress. This book will be of special interest to artists, managers, students, professionals, and researchers in the fields of the arts, creativity, economics, and development. The author is Emeritus Professor at the University Paris I Panthéon-Sorbonne.
Innovation is the main engine of competitiveness. However, in a world in which everything goes faster, the inherent nature of the innovation process has changed. This book assesses both the theoretically and empirically intertwined relationship between innovation, clusters and multinational enterprises in today's economy.
For fifty years, innovations have taken on a new dimension: the Internet, DNA sequencing, genomic manipulations, advances in transhumanism, nanotechnologies ... and much more. These recent innovations are not without addressing new issues whose consequences are as important as irreversible. The innovator, of whom Steve Jobs and Mark Zuckerberg are emblematic contemporary figures, appears as a personality as brilliant as he is destructive, who aspires to change the world regardless of the violence that may ensue. With this then, emerges the need to establish responsible innovation, in which the innovator should be accountable for his actions and review his position as a hero. To establish this new ethic, philosophy is a necessary recourse, since it questions, among other things, the self-control of the Stoics, the prudence of Aristotle, respect of Kant, the will power of Nietzsche and the power of Foucault.
The major innovations which have occurred between the end of the 20th and the beginning of the 21st century represent a fresh challenge to the responsibility of innovators. Innovators have disrupted, and continue to disrupt the world through the growth of technology, DNA sequencing, genetic engineering, the management of large databases, different forms of intrusion into our private lives, etc. It is up to them take full responsibility for their actions, and question what they are accomplishing, why they are accomplishing it, to what end and with what means. Such questionings are those found in a practice conducted by Ancient philosophers: spiritual exercises. These were internal or external discourses, enabling individuals to act, think, to know how to behave and how to master oneself. It is surely toward these practices innovators of today should turn in order to innovate with wisdom.
Technical superiority is one of the keys to military domination. Thus, defense industries have supported the development of increasingly efficient systems and made significant contributions to technical progress. However, since the late 1980s, defense industries technological initiative has been questioned and new sources of innovation have been sought by turning to the civilian sphere. A duality was born from this marriage of defense and civil innovation which developed their synergies in order to improve the innovation process in both areas. Dual Innovation Systems uses a systemic approach to investigate this dual approach to innovation and how it promotes improvements in the research and development processes of the defense and civilian areas. It also presents a variety of tools for measuring the performance of a dual innovation system.
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